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The anxieties towards technology that proliferate the artist’s practice mirror the own ones, that are developing in my work. The symbol of rubble alludes to technology’s destructive abilities when synthesised with the capabilities of man. It could be https://cryptolisting.org/ argued this is synonymous to a game like Grand Theft Auto and therefore seems an appropriate material to utilise within their practice. The very notion of employing a video game engine, in what could be called a “conflict material”is intriguing.

It had to be a conversation, so I knew the word “battle” had to be in there. “Joined” is about the disparate communities that use this park. There’s some drug activity over there, the senior center over there—all the beauty, the impoverishment, the humility, the humanity, the audaciousness of this park.

We make a composition with images and we use computers, but they don’t make these pictures. We lift them out from inside ourselves, our mental and moral position at the time. I even compared an institution I worked with to a large alien in the middle of a city, producing and distributing realities that were not yet there.

If you do, then I think they are the Best Best Best culture ever! My relationship would be that I rub the DVD boxes on my face and I kiss the TV. I have plenty of conscious ability to research the subject and produce the result but the moment of selection or engagement is pretty fast and furious. Perhaps it is a mixture of ‘unsung heroism’ or a need for attention to be paid to the subject as well as a strong visual element.

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Steve McQueen interview: ‘Is anything really diverse? I don’t have an opinion on that. All I care about really is films’

Also in relation to the question, there was another work I made for my MA show at Chelsea College of Art in 1993, which I rebuilt for a show at GAMeC in Bergamo a couple of years ago. It was titled A staging of the reconstruction of the southern palace of Babylon which in effect was what it was. In terms of context, time or history is a major factor in the reading of a piece, and in relation to this, recent world events have been kind to that work, if not to the rest of the world or the Iraqi people.

Rottenburg skilfully takes a frying pan, obsolete in a wider context, yet in transgressing it’s typical settings and through utilisation of light it becomes an abstract entity, that sensorially entices the viewer. This is inextricably intermingled to my fascination with content and context, whereby Rottenburg manifests these “small tensions” in the domestic that generates a completely new narrative driven by materiality. Moreover, I am intrigued by Rottenburg’s utilisation of “hair” as the ultimate transitional object, which she views as a connection between the human and the external world. Hence, in relationship to my own practice I find it fascinating how in removing hair from its typical context it becomes disturbing and bizarre and removed from any recognisable form signifys humanity’s ostracisation of their primate brothers.

The need for this presence is what made me realize I needed to write as part of this project, as a third layer of mediation. I didn’t know when I started that I could and should include myself in this way. I preferred to build a kind of stage for individual projections and experiences. Even if I copied some actual spaces, they were still very universal.

There is an intriguing cinflucting between the collapsed hole and the delicacy of the shards laid out, which highligjts the illusionary themes that pervade her work. Furthermore, in terms of the idea of myth that has proliferated my practice, it is exciting how the artist has signified this cataclysmic event through the language of her materials and the dialect forms with the viewer. This generates a sense of awe as discussed by Dorman, which symptomatically brings communities together. Hence, in relation to my own work, I believe it could fascinating to question the inter-relationship between the truth and the “ephemeral”, which culminates in this idea of myth.

• So, I spent eight years deeply researching surface design and multi-cellular structures with Peter through his lab and in the context of LabStudio.
• I think there’s a great deal of work to be done as an artist, and I think it’s one of the prime functions of art, to make people aware of that.
• That was one of the big Epiphanes I had down, a small amount of information could be very powerful.
• Much of my practice is about “binding” the communities together, which the mesh physically can achieve however it is intriguing how this is dichotomous to Salcedo’s practice, which illumines the division within society.
• Neurological studies into the foetus have shown unexpected levels of awareness of sound and light in the brain; can we register consciousness as even being present in the womb?

It didn’t affect the sculpture, because salt is crystalline — it doesn’t expand. And the plastic is bonded and sealed, so there’s no capillary action wicking moisture into it. I saw an exhibition by Jean Tinguely back in 1982 at the Tate, when I was 18, and it had a profound effect on me. And I saw all these people laughing and smiling in and amongst these kinetic sculptures. But I knew when it came to the National Gallery I wanted to do something that involved the public.

Richard Deacon – Lisson Gallery

Its center of gravity is so low and spread it is virtually impossible to tip over, I have seen the rear wheels leave the ground once. I made a change to the lower frame, in that I ran 3/4 inch angle iron along the base of the wall frame. The wall will drop into this rail and it will be filled with Pl4000, that will seal the bottom of the wood and make a strong enough bond that the whole trailer could be lifted by one side. I reinterate, there is not an off road trailer on the market that is in the slightest competitive with this trailer, nothing stronger, anywhere, any time or any place. I have drug mine on trails the others would never even consider and beat the heck out of it.

Due to Henrium’s raw state in my experimentations I am essentially painting an image as states change and new marks form. Furthermore, this concept of truth that infiltrates my practice has also been paralleled by Oliviera. The artist discusses the dichotomy of whatnis in fact nature and the image of nature. He reinforces the fact his content despite the naturalistic undertones is not natural in production. In terms of my own work, it is “natural” in the sense it comes organic materials yet their synthesis and treatment is extremely artificial. Perhaps this alludes to the fact as a society, we attempt to appear sustainable, yet ultimately have become consumed by this egotistical, capitalist and industrial rooted idea of creation that forces us all our outcomes to be unnatural to a degree.

To interrogate objects relationship with the space around them and this is intermingled with performative aspects. Furthermore, I am fascinated by the artists observation of life as performance art. This was a concept that informed my own work as I began to interrogate life as a collage of different people, places and objects. This is paralled by Franz West, who’s desire to produce sculpture on the streets is symptomatic to his appreciation of performance sculpture being dictated by the freedom of space, time and content available in this location. In her methodology it appears there is one form Mary Sibande desires to eliminate. An archaic image of an oppressed black woman enslaved by corrupt imperialist orthodoxies.

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They use plastic, metal and other materials which are reliable. In Brasil they produce these wood boards in a very cheap way. After 6 months, the rain and the sun damage it and it starts to fall apart. Ofcourse things are changing, and more and more they are substituting this tapume for more durable materials. When we first saw Baitogogo, it reminded us of architecture’s reliance on nature, with the two materials of manmade pillars and natural wood juxtaposed. It is nice though, that each viewer can interpret it in different ways.

Could it be argued through creativity and fashion, the designer attempts to map his own anxiety towards these existential philosophies later discussed. Furthermore, this territory of interest of cloths being a presence is illumined by the leather’s ability to morph from domestic suspenders into body braces. This returns to my initial examination of the artist’s ability not to birth these temporal creatures but rather externalise them to the rest of the world through their practice. This idea of morphing also illumines how within the dialect between clothing and wearer, the person is ultimately subservient to the changing forms of the garment. It is exciting how Alboh uses the “surreal blue clouds” to rationalise the working man chaos. Hence, it can be argued this fashion evokes themes of myth as it informs human lifestyle.

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When I first began recording in 1968, heavy recorders with seven inch reels of tape were common. With that gear, I would have to change the tape every 22 minutes – the running length of tape at 15 inches per second . Oddly enough the field recording model – that of capturing whole habitats – that I used in 1968, I’m still using today. The concept was to record whole soundscapes and use them as components of orchestration.

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More generally, music can be a great upsetter as well as having a calming effect. I can change how I feel about the world by simply putting on a pair of headphones. Music has an alchemical property, transforming the body in ways that other cultural forms struggle to. That’s why it’s deployed so cynically in adverts and by Hollywood.

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In his discussion of an object’s interaction with the space around it he reaffirms my interest in the adaptives. Here Cragg illumines the sculpture as an appendage to the space around it, which then instigates the question what is the humans role within the piece. In my work I want to exhibit this by utilising the haptic qualities of my material.

Perhaps the artists illumines this through his material of ice, in which the impermanence is symbolic of the god-like status of extraterrestrial beings. This would be exciting to include in a time capsule as it would define what being human is to an extra-terrestrial by manifesting our anxieties of towards their existence, ultimately rooted in myth. I am fascinated how Shonibare takes no political standpoint unikoingold price in her work, which is manifested in the domestic items and concealed face, illumining that that the issues of climate change concern no single human being but rather society as a collective. Paradoxically, perhaps the artist employs the astronaut to illuminate humanity’s imagination and how we use this imagination to escape the harsh realities of the modern world and manifest a more utopian society.